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Mabillon and Montfaucon's Italian Connections Between Travel and Learned Coll View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Directory of Open Access Journals Medieval art studies in the Republic of Letters: Mabillon and Montfaucon’s Italian connections between travel and learned collaborations1 Francesco Russo Figure 1 J. Mabillon, Iter Italicum, (Paris, 1687), title-page. Introduction Between 1685 and 1701 the Italian establishment was shaken by visits to the Peninsula of two leading figures in medieval studies: Jean Mabillon and Bernard de Montfaucon. Although Italian scholars were not new to the principles of historical research established by their French colleagues, the voyages littéraires made by the two famous Benedictines of the Congregation of St. Maur2 set in motion a process of actions and reactions that effected a substantial improvement in the study of pre- 1 I would sincerely like to thank the editor for giving me the opportunity to publish this article. I would express my gratitude to the referees who read the paper and offered essential suggestions and mainly to Mark Weir (University of Naples L'Orientale) for his invaluable help in proofreading the text. 2 Mabillon in 1685-1686; Montfaucon in 1698-1701. Journal of Art Historiography Number 7 December 2012 Russo Medieval Art studies in the Republic of Letters Renaissance art and antiquities in Italy.3 (figs 1&2) This process took place in the context of the more advanced exploration of the Middle Ages which, with its methodological rigour, marked the transition of historiography between seventeenth and eighteenth centuries.4 Figure 2 B. de Montfaucon, Diarium italicum, (Paris, 1702), title-page. Making reference to studies of the post-classical heritage, this article illustrates the Maurists’ Italian experience by focussing on Mabillon’s journey, 3 Arnaldo Momigliano, ‘Mabillon's Italian disciples’ [1958], in Idem, Terzo contributo alla storia degli studi classici e del mondo antico, to. I, Roma 1966, 135-152; Blandine Barret-Kriegel, Jean Mabillon, Paris 1988, 67-75; Françoise Waquet, Le modèle français et l’Italie savante (1660 - 1750), Paris-Rome 1989, 36-38, 103- 105; Gabriele Bickendorf, ‘Dans l’ombre de Winckelmann : l’histoire de l’art dans la ‘république internationale des Lettres’ au XVIIe siècle’, Revue de l’Art, 146: 2004, 7-20; Francesco Russo, 'Itinera literaria et antiquités du Moyen Âge. L'Italie de Jean Mabillon et Bernard de Montfaucon', dans Voyages et conscience patrimoniale. Aubin-Louis Millin 1759-1818 entre France et Italie, actes du colloque international INP, BnF, Université La Sapienza (Paris-Rome, dec. 2008), Rome 2012, 33-46. 4 For an overview on early-modern Medieval studies with art-historical implications, see Enrico Castelnuovo and Giuseppe Sergi, eds, Arti e storia nel Medioevo, IV, Il Medioevo al passato e al presente, Torino, 2004; for the antiquarian aspect see, above all, Alain Schnapp, La conquête du passé: aux origines de l'archéologie (Paris, 1993) [English edition: The Discovery of the Past, New York, 1997] and Alain Schnapp and Kristian Kristiansen, 'Discovering the Past', in Graeme Barker, ed, Companion Encyclopedia of Archaeology, I, (London-New York, 1999), 3-47. 2 Russo Medieval Art studies in the Republic of Letters which has so far attracted less art-historical attention than that of Montfaucon.5 Rather than considering the full scope of his art-historical observations on medieval art, for which we refer to other studies, we focus mainly on his collaborations with local scholars who were actively involved in inspecting and gathering information about monuments from the Middle Ages. Secondly, our purpose is to place Mabillon and Montfaucon's antiquarian investigations in Italy in the context of contemporary publications, correspondence and learned friendships, noting traces of mutual influences between the French and Italian traditions of scholarship. Mabillon in Italy: collective inspections and tours Mabillon's Italian journey (1684-1685) had a significant impact on both the Republic of Letters and his own life. With a continued sense of discovery he entered new realms of charters and manuscripts, finding and publishing crucial patristic, Benedictine and liturgical writings according to the new philological criteria that Mabillon had recently established in his De re diplomatica (Paris, 1681).6 From Piedmont to Campania he established an itinerary based on libraries and archives that would become a model for future scholar-travellers.7 At the same time he was constantly interacting with prominent figures of local erudition, and this proved the real turning-point in his career and the driving force for his increasing interest in art history. Mabillon's voyage in Italy was more penetrating and enduring than Montfaucon’s following stay (1698-1701). The latter, in terms of its importance, followed a geographical and scholarly trail already traced by his predecessor and, in terms of interaction with scholars, was clearly less open to collaboration, although sparkling with meetings and collective surveys. Montfaucon focused mostly on his own ambitions; by contrast, Mabillon frequently relied on his learned friends’ guide and cooperation. Mabillon's austere temperament, earnestly devoted to the principles of the early-modern Benedictine Reform that inspired the birth and doings of the St. Maur congregation, did not stop him from opening out his historical/philological research to the help of other scholars, if this would benefit his erudite aims. 8 The eldest Maurist was preoccupied by a thirst for historical and 5 See Elena Vaiani, ‘L’Antiquité expliquée di Bernard de Montfaucon: metodi e strumenti dell'antiquaria settecentesca’, in Dell'antiquaria e dei suoi metodi, in Annali della Scuola Normale Superiore di Pisa, Classe di Lettere e Filosofia: Quaderni, 6 (1998), 155-176. 6 See above. 7 This sense of discovery was also accompanied by the perception of a substantial decadence of the current Italian historical science, which was viewed by the Maurists as largely unable to enhance its own heritage of medieval documents (Franco Venturi, ‘L’Italia fuori d’Italia’, in Storia d’Italia, III, Dal primo Settecento all’Unità, Torino, 1973, 985-990). 8 Daniel-Odon Hurel, ‘Dom Jean Mabillon, moine bénédictin et acteur de la république des lettres dans l’Europe de Louis XIV’, in Dom Mabillon. Œuvres choisies, Daniel-Odon Hurel, ed, Paris, 2007, ii-vi. 3 Russo Medieval Art studies in the Republic of Letters religious truth, which he constantly pursued through work in libraries and archives, and secondarily through the visits to monuments. In comparison with the rest of his travels, Mabillon’s Italian experience was undoubtedly the longest and the most demanding and variegated. Prior to 1684 his research activity had mainly been carried out in the seclusion of monastic libraries, albeit in Flanders, France, Switzerland and Germany, where he had copied charters for historico-philological purposes. We have little evidence that he had any real interest in the works of art and monuments he encountered along the way. The accounts of his journeys in Bourgogne (1682) and Germany (1683) contain only passing references to copying gravestones and seals.9 During the preparation of De re Diplomatica (Paris, 1681), empirical observation of the material features of documents and the comparison of forms and styles of ancient writings, made in itinere as he visited a number of French abbeys (mainly in Paris and Lorraine), undoubtedly paved the way for his interest in art history.10 But this interest really took hold in Italy, and gained a lot from meetings and carrying out inspections with Italian scholars, in his mission to purchase and copy medieval manuscripts for the Maurists’ library in Saint-Germain-des-Prés and for the library of Louis XIV.11 His almost exclusive attention to the Middle Ages, seen in his pursuit of documents, also concerned works of art and buildings. In fact the contents of his travel diary (the Iter Italicum) show the Classical past to have been very much a marginal interest. Mabillon’s studies in Italy were conducted in full adherence to a rationalist attitude based on a connection between critique and logic12 that he will theorize in his Traité des études monastique (Paris, 1691). It was an approach that was fully shared with the scholars he met along the way. In Brescia, in May 1685, Mabillon and his fellow-traveller Michel Germain were taken through the town’s monuments by Giulio Antonio Averoldo, connoisseur and expert numismatist, who in 1700 was to 9 Jean Mabillon, Itinerarium Burgundicum, in Vincent Thuillier, ed, Ouvrages posthumes de Dom Jean Mabillon et de Dom Thierri Ruinard, Paris, 1724, II; Jean Mabillon, Iter Germanicum, in Veterum Analectorum, IV, Paris, 1685. 10 Gabriele Bickendorf, ‘Des mauristes à l’école de Berlin: vers une conception scientifique de l’histoire de l’art’, in Edouard Pommier, ed, Histoire de l’histoire de l’art, Cycles de conférences organisés au Musée du Louvre (24 janvier-7 mars 1994, 23 janvier-6 mars 1995), Paris, 1997, II, 141-175 and Bickendorf, 'Dans l'ombre de Winckelmann', p. 8. For an overview of Mabillon’s learned travels in France, Flanders and Germany see Henri Leclercq’s biography of Mabillon reedited in Daniel-Odon Hurel, ed, Dom Mabillon. Le moine et l’historien, Paris, 2007, 37-51, 73-98, 246-259. 11 On the official aims of Mabillon’s Italian mission see Henri Omont, ‘Mabillon et la Bibliothèque du Roi à la fin du XVIIe siècle’, in Mélanges et documents publiés à l’occasion du 2e centenaire de
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